Download Pauline Oliveros and Quantum Sound

Liminalities: A Journal of Performance Studies
Vol. 6, No. 2, October 2010
Pauline Oliveros and Quantum Sound
JoAnne C. Juett
It’s about the human/machine relationship or interface—the power of technology to expand the
mind. You find solutions to creative problems and those solutions lead you into new territory where
new solutions have to be found. – Pauline Oliveros1
From her earliest electronic works and meditations to the most recent performances
of her Deep Listening Band, Pauline Oliveros ventures into new territory, situating
herself on the cutting edge of the performing arts. Oliveros describes her vision of
this “edge” as the “unknown of imagination for performers, improvisers, composers
and instrument makers and the unification of all these roles” (“Quantum
Improvisation” 7). The “edge” or the “border,” as she also calls it, is the very place
where energy and possibilities emerge from new creative fusions of musical and
instrumental forms where technologies of sound cross the borders between human
and machine, performer and audience. It is from the “edge” that the revolutionary
gestures of Pauline Oliveros have arisen and continue to influence.
Pauline Oliveros stands as a unique figure in the aesthetic world, integrating
technology into the physical experience of human listening to achieve a
transformative consciousness of self and world. Through her music, Oliveros creates
possibilities for a revised reality that merges consciousness and the cosmos. Oliveros
melds body, mind, and machine into sound experiences designed to enable a “new
and ambiguous consciousness opening a new variety of choices. Ambiguous
consciousness would mean the ability to perform in more than one mental state
simultaneously in order to reach or bridge past and future as an expanding present”
(“Quantum Improvisation” 9).
More than mere performance, though, the whole of Oliveros’ work rests on her
concept of Deep Listening, or an expansion of one’s perception of sounds inclusive
of the “whole space/time continuum of sound” (Deep Listening, xxiii). Deep listening
is a musical paradox, an expanded consciousness through which performers are
audience are composers are audience are performer, not so much in a cyclical
relationship, but existing in a simultaneous and a symbiotic state. Oliveros explains
JoAnne C. Juett is assistant professor of Scientific and Technical Writing in the English
Department at the University of Wisconsin—Eau Claire, where she also serves as an
Instructional Technology Fellow. She is co-editor of Coming Out to the Mainstream: New Queer
Cinema in the 21st Century.
1
“Pauline Oliveros.” Interview by Cory Arcangel.
ISSN: 1557-2935
<http://liminalities.net/6-2/oliveros.pdf>
Quantum Sound
her multiple roles in a musical experience: “When I arrive on stage, I am listening and
expanding to the whole of the space/time continuum of perceptible sound. I have no
preconceived ideas. What I perceive as the continuum of sound and energy takes my
attention and informs what I play” (Deep Listening xix). The musical experience that
results, then, is “interactive music”:
It is interactive in the sense that participants take a share in creating the work rather
than being limited to expressively interpreting pitches and rhythms. I have composed
the outside forms, the guidelines for ways of listening and ways of responding. These
forms and guidelines with appropriate application give the participants a creative
opportunity to compose and perform simultaneously in collaboration with me and to
expand their musicianship (The Roots of the Moment 5).
Deep listening is practice and performance, but even more, it is a heightened
awareness of the vast musical soundscape of the universe. Listening begins with the
physical ear, consciously giving attention to and focusing on the trajectory or
sequence of sounds. Listening becomes deep when one can simultaneously target
sounds and perceive the whole of the sound environment. Deep listening invokes a
deep ethical dimension of the human experience, because it has the potential to
trigger human intelligence, compassion and understanding, to cross the borders of
introspection into the possibilities of challenging the serious ethical issues within the
world today.
My interest in this essay lies in the scientific theories that underlie Oliveros’s
“interactive music” and her theories of quantum improvisation and quantum listening
that inform deep listening. I provide a basic discussion of these theories of the sound
experience that I believe Oliveros has derived from the undivided wholeness theory
of quantum physics. I also discuss the practice of quantum improvisation and
quantum listening through examples, such as recorded performances Timeless Pulse
(CD) and a DVD entitled Recording Field, H.
I must be responsible and acknowledge that Oliveros does little to explicate her
quantum theory of music. The influence of Ki Mantle Hood is implicit, yet profound
in her work. Dr. Hood, pioneer in ethnomusicology, presented a quantum theory of
music in the early 1990s. Hood arrived at a concept of “partials” in sounds—that is,
that every production of sound is unique because the relationship of the partials or
elements that make up that production are always changing, although many of the
partials remain the same. Hood devised a list of possible partials, including pitch and
volume. According to Hood the uniqueness of the aggregate relationship of these
partials dictates the “quality” of an individual sound, and this relationship creates a
non-linear and discontinuous soundscape (to use Oliveros’ term)—one that is always
in flux even though partials may remain constant and are continuously identifiable.
Additionally, Hood advocates “consciously” listening to sounds in a “new way” and
listening for the individuality of all sounds so as to effect both the production and the
perception of the sound experience. Oliveros integrates Hood’s concepts into her
own understanding of the unique elements of a changing soundscape and into her
theory of quantum or deep listening.
2
JoAnne C. Juett
Oliveros also possesses a high level of mathematical understanding,
demonstrated, for instance, in her use of algorithms to control the parameters of her
EIS, or electronic accordion. Her explanations of her application of quantum theory
to her work, though, overall remain rather sparse. I will attempt in this paper to
accurately interpret the work and writings of Pauline Oliveros the composer,
musician, and theoretician as I seek to elucidate her quantum theory of music in light
of the work of noted quantum scientists.
The Oliveros Musical Universe
Pauline Oliveros is quick to note in her writings and interviews that she has spent
nearly her entire career engaged in a relationship with music technology. Oliveros’s
deep interest in sounds began with the unique instrument she chose to develop her
musical talents—the accordion. “Little did I realize in 1942 that my fascination with
the accordion at age nine would continue to this day and that I would re-tune and use
the accordion with recording and electronics as I do now” (“Tripping” 2). She
majored in the instrument in college, but her development of the awareness of sound
and her search for ways to harness the effects of this awareness began with her
experiments with technology in the late 1950s: “I stuck a microphone in my window
and started recording whatever was happening," she says. “Then I'd listen back and
realize I hadn't heard everything” with naked ears. “So I gave myself the practice of
'listen to everything all the time' and 'remind yourself when you're not.' And I've been
practicing that ever since. . .” (Kaliss).
Her career began with tape delay, or the production of sound loops to extend the
sound production possibilities of her accordion. In the 1960s she developed the
Expanded Instrument System (EIS), which is a series of delays and audio controls
connected to foot pedals that allowed Oliveros to manipulate the sounds of her
accordion. She continues to change the EIS technology, most recently converting the
original analog system to digital, so that any human or animal sound production can
be sent to “digital processors (software) that create multiple voices through delays,
modulations, reverberations and other modifiable acoustical parameters. For example
the ratio of dry to wet signal, phase relationships and other parameters as well as
spatial shape and movement can be controlled” (“Sounding the Border” 9). The EIS
provides a dynamic fluidity for sound production and experience, and Oliveros views
the EIS as a cybernetic extension of her own body. “I have attempted over the years
to enhance my musical understanding, abilities, and performance as a human by using
the musical tools that are available to me as an extension of my body. As I continue to
adopt new technologies as tools, I am participating in transhuman activity”
(“Tripping” 1).
Oliveros experiments with various electronic productions of sound. Few of her
performances would be complete without computers, but her technical forays are
much broader. In the 1990s, for instance, Oliveros experimented with video
technology in order to “make musical connections with long-distance partners”
3
Quantum Sound
(Arcangel). She has since evolved into using more complex versions of the Internet,
including Internet2 at Rensselaer Polytechnic Institute for “telematic” music
production (long distance music collaboration over video/telephone lines), where she
currently teaches and directs her Deep Listening Institute. One of her recent projects
called “Deep Listening Convergence” involved 45 musicians in “virtual residency”
using Skype (Arcangel).
One might easily characterize Pauline Oliveros as the “grand improviser.” I derive
such a title from her statement: “I see and hear life as a grand improvisation – I stay
open to the world of possibilities of interplay in the quantum field with self and
others – community – society – the world – the universe and beyond” (“Quantum
Listening” 2). From her earliest tape delay experiments to her latest collaborations on
Skype and her iPhone, Oliveros composes with a quantum interpretation of the sound
waves interacting within the field of the acoustic environment. According to Nick
Herbert, “quantum waves…are oscillations of possibility” (72). Her first foray into
the application of quantum theory was with her work with synthesizers, composing
with sine wave oscillations such pieces as Alien Bog. Her more recent work has
evolved into the use of complex digital synthesizers which employ impulse waves; in
2006 Oliveros released her “Lion’s Eye/Lion’s Tale,” a frenetic and mesmerizing
piece played by a gamelan ensemble and its digital counterparts, weaving
"polymetrical, polyrhythmical patterns" of perpetual motion sometimes “at speeds
ranging up to 1800 per minute” (Deep Listening).
Quantum Listening
Deep Listening takes us below the surface of our consciousness and helps to change
or dissolve limiting boundaries. (“Quantum Listening” 6)
Oliveros uses quantum theory to understand what happens in the acoustic
environment at the “edge” of sound experience. Because Oliveros stresses the unity
and wholeness of the acoustic environment, I will attempt to characterize her theory
and practices based on the quantum concepts of those thinkers such as David Bohm,
who interpret quantum theory in regard to wholeness and implicate order. In
particular, I understand Oliveros’s attraction to the undivided wholeness
interpretation, since some of its most significant proponents, such as Bohm and
Fritjof Capra (The Tao of Physics), interpret the quantum universe through an
intersection of mystical experience, strongly influenced by Buddhism, and quantum
mechanics.
The undivided wholeness interpretation of quantum theory reveals that although
measurable, the universe exists of an implicate order or a total structure that enfolds
upon itself with an infinite fluidity of multiple possibilities, each possibility existing as
an abstraction of the totality of reality. Bohm explains: “What is always a totality of
ensembles, all present together, in an orderly series of stages of enfoldment and
unfoldment, which intermingle and inter-penetrate each other in principle throughout
4
JoAnne C. Juett
the whole of space” (233). For undivided wholeness quantum physicists, such as
Bohm, the implicate order is “…not to be understood solely in terms of a regular
arrangement of objects (e.g., in rows) or as a regular arrangement of events (e.g., in a
series). Rather, a total order is contained, in some implicit sense, in each region of space
and time” (188).
Undivided wholeness theory revolutionizes orthodox ontology. With this radical
change, all structures come to be understood in completely new ways. David Bohm
discusses, for instance, radical changes in language structure, necessitated by the fact
that language as constructed within the framework of a classical physics worldview is
by necessity itself atomistic and fragmentary. For Oliveros, then, undivided wholeness
revolutionizes musical structure. Music is no longer merely human notation, machine
calculations, or even merely vibrations and sensations of sound. Music is “a multidimensional, dynamic process unfolding as a relationship between an individual or a
group of individuals, and sound vibrations” (Software For People 130).
This dynamic process of music consists of an infinite number of possibilities of
experience beyond the three-dimensional understanding of our experience reality,
especially if one follows the wholeness theory of reality into the understanding that
our observed dimensions are mere projections of a “higher dimensional reality”
(Bohm 238). At this point then, one can understand how Oliveros’s holistic
perspective of the sound experience has led her to name her theory of music
“quantum listening,” which she defines as “listening to more than one reality
simultaneously” (“Quantum Listening” 1). In fact, Oliveros further defines quantum
listening as listening to listening (“Quantum Listening” 15). Intentionally a circular
definition, Oliveros understands music as phonons, or quanta of light energy,
intentionally enfolding themselves into the fabric of the total order of the universe.
True to her grasp of the dynamic nature of relationships within the quantum universe,
the definition of phonon Oliveros renders can only be found on Wikipedia: “the
tiniest particles of sound. Phonons are to sound as photons are to light. It takes
billions of phonons to make up a sound. Phonons oscillate, echo, reverberate etc. at
the sub atomic level in the quantum soup.” Oliveros’s circular language, which
unmistakably draws from Ki Mantle Hood’s theory of unique sound partials,
demonstrates that the sounds are not elements that can be explicated and thus
measured and understood in terms of classical physics of sound. For Oliveros this
would mean that at the point of explication, individual sound particles would cease to
change—they would be interpreted from a specific, static state. Instead, Oliveros
poetically describes the sound environment as a fluctuating totality in which “[e]ach
listener by the act of ‘listening’ affects the field and thus the form. The form affects
the listener in a dance of reflections in the space between” (“Quantum Listening” 16).
The dancer Tomei embodies Oliveros’s metaphor in Recording Field, H. This DVD
is Pauline Oliveros’s first collaborative improvisation effort with interface (Curtis Bahn,
Tomie Hahn, and Dan Trueman), in which the musicians engage in free
improvisation using custom-made instruments, including sounds that Tomei produces
through her movements as they are sensed by special devices attached to her body
5
Quantum Sound
(Curtis Bahn created these sensing devices.). As the liner notes indicate, Tomei
performs in “Streams” as a “dreamlike apparition” who merges technology and flow
of information with liquid states of being. Tomei gracefully surges in fluid, sensual
movements, often stretching through her arms, hands and legs as though the sounds
are flowing into the whole of the universe. Her light costume embodies the metaphor
of reflection, light off of water; the sounds seemingly bounce from her body,
“affecting the field and thus the form,” as noted above. As a robot or anime-like
character, “Pikapika” (even the name is reminiscent of anime characters), Tomei
dances at angles, producing staccato sounds and movements. Concurrent, rippling
visuals appear on an adjacent whiteboard, reflecting her movements as an infinite
fluctuating totality of the sound experience. As Oliveros notes in “Sounding the
Border”: “All technologies are an extension of bodily functions usually greatly
amplified…Musical instruments enable forms of music beyond the basic universals”
(5).
Recording Field H also contains two instrumental pieces—the ironically named
“035”” max” and the title piece, “RECORDING FIELD, H.” “035”” max, a
measurement of voltage or transmitter output power, becomes the conduit, not the
limit itself of an array of sounds. According to the video liner notes, the interactive
music of interface exists as “musical conversations” between musicians, instruments,
and listeners. The ensemble’s name itself, interface, speaks to the relationship between
electronic instruments, computer software, and the musicians who inventively and
spontaneously create musical conversations; there is a natural flow between the
improvisatory manipulation of the instrument and the constant monitoring of the
effects through laptop computers. Oliveros perceives Recording Field H to be a
conversation “into the future” (liner notes). This conversation simultaneously changes
and influences change with every listening experience. Each conversation generates
creative force—each sound and movement a metaphor for the energy emerging in
and from the dynamic time and space of the performance. Indeed, the metaphor is a
“new vocabulary” (liner notes), a new language spoken within the universal musical
consciousness of the moment.
Underlying Oliveros’s quantum theory of music is the unification of listening,
composing, and performing. Here we can see how Oliveros has evolved from her
early work with such technologies as a tape delay, in which the tracks are aggregate
atomistic objects, and the composer, performer, listener, even technicians are separate
entities, and their actions would be measured by classical physics according to their
composition of discrete elements. For Oliveros, though, listening, composing, and
performing are not separate aggregates of atomistic particles; instead, these acts and
their attending actors can be understood on the quantum level as existing as patterns,
still of a “certain relative autonomy and stability” (Bohm 14), but not acting
autonomously, but rather as patterns of movement that are different aspects of an
undivided wholeness that is the reality of our universe. As Fritjof Capra explains: “the
new physics [quantum physics], in particular, implies a shift from isolated building
blocks, or structures, to patterns of relationships” (“Encounter”). If, then, the
6
JoAnne C. Juett
acoustic environment is the whole of natural and produced sounds, or an inclusive
ecology of sound, which is also inclusive of sound experience (although, the sounds
ontologically exist in abstract, regardless of whether they are “heard” or not), then the
acoustic environment is an “undivided whole movement” (Bohm 60), and the various
acts of listening, composing, and performing can only be abstracted as relatively
invariant sides or aspects of this movement.
Quantum listening, then, is the whole of soundscape and sound experience; it is
musical process that can be understood and measured as “formative activity in
undivided wholeness of flowing movement” (Bohm 14). And, out of this flowing
movement emerges tremendous energy. Oliveros believes that “when one is listening
to the whole field of sound without focusing on any one sound but expanding to
include all sounds that can be heard – sounds seem to become interrelated rather than
chaotic or meaningless” (“Quantum Listening” 15). The interaction of these sounds
creates a field of energy, a force field in quantum interpretation. Capra explains: “The
quantum field is seen as the fundamental physical entity; a continuous medium which
is present everywhere in space. Particles are merely local condensations of the field;
concentrations of energy which come and go, thereby losing their individual character
and dissolving into the underlying field” (Capra 77). In Oliveros’s theory
the field of sound can be felt as potential force . . . The field assumes meaning
(potential force) and is transformed by the listener. The listener is also transformed
by the field. If one is not listening in this expanded way then the form disappears into
the background of consciousness—the field disappears—is meaningless, attention
narrows, the potential lessens. (“Quantum Listening” 15)
For instance, energy builds from the open droning of Part 1 of Timeless Pulse: Live
At CNMAT 2002. The dissonance keeps one on edge, actively responding to each
sound that comes and goes through the evolving field of music. Sharp electronic
sounds open Timeless Pulse, accompanied by ringing bells that emerge and fade along
with gong reverberations. Slowly, various other instruments join the sound field, as
the performers respond to the waves of sound, sensing when to enter with an
accordion rift, tinkling chimes, and light rhythms from a snare drum. As Oliveros has
noted in liner notes to a different recording, but seemingly appropriate here:
it is not so much about the instruments as about the energies of the music that
comes from the intensity of listening — listening as close to 'now' as possible. we
know that our consciousness is delayed by a fraction of a second that the brain
interprets as now — however the body is instantaneous in its perception. thus the
phenomena of playing and becoming conscious of what has played — been played
— is a continually surprising experience in such improvisation (“Accordion/Koto”).
One’s skin and body ripples with the tinkling chimes, and one’s breath becomes
uneven, waiting in anticipation of a brief clarinet-like trill or the soft tap of the remo
tubano drums. Dissonant or percussive crescendos emerge at unanticipated moments,
causing the energy to wax and wane. A cymbal crash heightens consciousness, then
moments of silence allow for shifting and refocusing.
7
Quantum Sound
In 1993, improvisational musicians George Marsh (percussion), Pauline Oliveros
(accordion), David Wessel (computer realized sound), and Jennifer Wilsey
(percussion), formed Timeless Pulse while in a residency at the Pauline Oliveros
Foundation in 1993. They improvised the self-titled CD Timeless Pulse in 2002 using a
variety of instruments ranging from log drums to accordion to a Macintosh
Computer. The CD is an unedited digital recording of a live performance, providing
interactive opportunity for each subsequent listener. The calculated response, to use
Oliveros’s words, of every participant, performer and listener, creates a unique field of
sound every play of the CD. Even the sounds from the CD can vary according to the
technology the listener uses, along with the listener’s physical environment and state
of mind. The field of sound, then, stretches far beyond the initial production of the
Timeless Pulse CD in 2002; the field of sound encompasses both time and space, or
perhaps even better, times and spaces, in that in every listening experience, the
improvisation takes on new form, a new consciousness, a new reality for each
participant, even merging past performance with present experience to create future
possibilities sound experiences.
Throughout Timeless Pulse, a sense of continuity underlies the performance with
undulating tones produced by various instruments, one sound overlapping the
other— rolling cymbals, random accordion chords, and piercing electronic sounds
from David Wessel’s Buchla’s Thunder Controller; one feels at once thrust into the
future (I think of sci-fi movies where someone falls into a whirling spiral only to find
themselves in a new time/space continuum!). The opening of the last of the three
sections of Timeless Pulse is an increasingly layered field of sound; first computer
realized sounds emerge, then one by one percussive sounds expand the vibrating
soundscape. Percussive soundwaves created by rolling cymbals, accordion tones, and
interjected hollow exclamations from blocks and sticks interact with the pulsating
electronic sounds, demanding an intensive awareness of the interconnectedness of all
life within the sound environment. The dynamic weaving of sounds defies culturallyconstructed hierarchies, valuing instead difference and relationships. Caterina De Re
has observed that in Oliveros’s improvisational pieces “difference is not the point,
rather, listening differently in order to hear a more expansive sound art” (Deep
Listening 78). Timeless Pulse challenges musicians and audiences alike to rethink the
definitions and value of the sound environment.
One can experience the sounds of three of the Timeless Pulse members at
DRAM and in videos on You Tube of the Timeless Pulse Trio: Afternoon Jam Session (1 and
2 and 3). These videos capture the improvised movements of Oliveros on accordion
and George Marsh and Jennifer Wilsey on percussion. The added dimension of the
performance space—note the opening view on YouTube of a bookshelf containing
The Tao of Physics, along with the 2-D experience of video on one’s screen, enhance the
already-fluid sound environment, as the listener responds to the visual stimulation
simultaneously with the effects of the various sounds, ranging from those from the
instruments to the cars that go past one’s windows while listening.
8
JoAnne C. Juett
Sounding the Borders
Oliveros is ever experimenting with new instrumentation, new facets of performance,
and new approaches to deep listening. For instance, in one of her most recent essays,
she discusses the difficulties of merging computer technology with her accordion:
“When using the computer with my accordion I am working with a representation of
my intelligence. The interface of keyboard and mouse is crossing the border and is
often as frustrating as encountering a customs officer. In my current research I am
seeking to work with a neuroscientist to help sort out new possibilities” (“Sounding
the Borders” 6).
At her Deep Listening Institute in Kingston, New York, Oliveros annually offers
a number of training workshops leading to certification in deep listening. Other
projects at the Institute include training on Adaptive Use Musical Instruments
(AUMI) software, which is designed to help musicians with disabilities play traditional
musical instruments, and The Telematic Circle, an ongoing interest group that “uses
and develops applications for telepresent music performances. The group supports
the creation of new art that specifically addresses broadband transmission systems as a
new medium” (Deep Listening). All of Oliveros’ current work reflects her belief that
music should be for all people all of the time.
Pauline Oliveros continues to challenge traditional theories of sound and
listening, traditional concepts of composition and performance, and classical
interpretations of consciousness and cosmology. Her interactive music continues to
push deep listeners to the “edge” of musical experiences. She busily and
enthusiastically embraces her role as exemplar of what one might consider a
“quantum” performer—always composer, player, and listener simultaneously:
We are interacting with a powerful resource and sharing with billions of musicians
who have preceded us, who are simultaneous with us and who will succeed us. We
can help others to learn to listen and participate by listening as a lifetime practice. As
musicians we listen to make finer and finer distinctions in tone, sound and rhythm. It
is the slightest nuances that accumulate and refine one's aesthetics. If we also listen to
include more and more of what might seem to be background noise we perceive
relationship to place. All sound, including so-called background sound, brings
information and connection. This is true for our daily lives as well (“The Roots of the
Moment”).
Pauline Oliveros remains a visionary of sound in the 21st century, still
imaginatively transforming the possibilities of sound experiences by continuing to
redefine “the responsibilities of the composer, the performer and listeners by asking
that everyone share creatively in the listening process which is the gateway to
creativity” (The Roots of the Moment 9).
Works Cited
9
Quantum Sound
Arcangel, Cory. “Pauline Oliveros.” BOMB 107. Spring 2009. Accessed 1 Oct. 2010. http://
bombsite.com/issues/107/articles/3268
Bohm, David. Wholeness and the Implicate Order. London: Routledge Classics. 2002. Print.
Capra, Fritjof. “Encounter at the Edge of the New Paradigm: A Dialogue with
E.F. Schumacher.” EnlightenNext Magazine. Spring-Summer, 1997. Web. 1 Oct. 2010.
---. The Tao of Physics: An Exploration of the Parallels between Modern Physics and Eastern Mysticism
(25th Anniversary Edition). Boston: Shambhala Publications, Inc. 1999. Print.
Deep Listening. Web. 1 Oct. 2010
Hood, Ki Mantle. “Ethnomusicology’s Bronze Age in Y2K.” Ethnomusicology. 44.3 (2000).
Web. 1 Oct. 2010.
Interface. Web. 1 Oct. 2010.
interface. Recording Field, H. Kingston, New York: Deep Listening Publications, 2003. DVD
Kallis, Jeff. “Accordionist plays back the world’s music.” San Francisco Chronicle 12 Oct. 2001,
1:24. Web. 1 Oct. 2010.
Oliveros, Pauline. Deep Listening: A Composer’s Sound Practice. New York: iUniverse, Inc. 2005.
Print.
---. “Quantum Improvisation: The Cybernetic Presence.” Improvisation Across Borders Conference.
UCSD, 1999. Web. 1 Oct. 2010.
---. “Quantum Listening: From Practice to Theory (To Practice Practice).” Deep Listening. Web.
1 Oct. 2010.
---. Software For People. Baltimore, MD: Smith Publications, 1984. Print.
---. “Sounding the Borders.” Deep Listening. Web. 1 Oct. 2010.
---. The Roots of the Moment. New York: Drogue Press, 1998. Print.
---. “The Roots of the Moment.” Pauline Oliveros. Web. 1 Oct. 2010.
---. “Tripping On Wires: The Wireless Body: Who is Improvising?” Critical Studies in
Improvisation. Vol. 1, No. 1 (2004).
Oliveros, Pauline and Miya Misaoka. “Accordion/Koto.” Web. 1 Oct. 2010.
“Phonons.” Wikipedia. Web. 1 Oct. 2010.
Timeless Pulse. Timeless Pulse: Live at CNMAT 2002. Kingston, New York: Deep Listening
Publications, 2002. CD.
---. Timeless Pulse: Live at CNMAT 2002. Web. 1 Oct. 2010.
---. Timeless Pulse Trio: Afternoon Jam Session (1 and 2 and 3). Web. 1 Oct. 2010.
YouTube. Web. 1 Oct. 2010.
This work is licensed under the Creative Commons Attribution-Noncommercial-No Derivative Works 3.0
License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/; or, (b) send a
letter to Creative Commons, 171 2nd Street, Suite 300, San Francisco, California, 94105, USA.
10